The Red Shoes

NOISY CROWD

-MAN:

-Open the door!

They're going mad, sir. It's the students.

-MAN:

-Down with violence!

-CROWD CHEERS

All right. Let them in.

CHEERING

And up!

-Swine!

-Beasts!

Into the valley of death...

-Into the jaws of hell...

-Rode the 600!

Hey! Ease up!

You're sitting on my cloak.

-Setting up below?

-Not a sausage.

-Here.

-Ah! Here we are, Terry.

Thank you.

MUSICIANS TUNE INSTRUMENTS

I can't see him anywhere.

-Programmes?

-Two, please.

One here.

Thanks, pal.

-Quite a turnout down below.

-Mmm.

Old Palmer's music better be good!

Boronskaja wouldn't be dancing the leading role if it wasn't.

-Boro who?

-Who exactly is Boronskaja?

You've queued for six hours to see her dance.

Not to SEE anybody. To HEAR.

Have YOU heard of Professor Palmer?

-Never.

-Never.

You will.

The programme says, "'Heart of Fire', Music by Andrew Palmer."

-OUR professor.

-So Boro-whatsit better be good.

She's hardly likely to be anything else.

There he is!

-HE SHOUTS: Palmer! ALL:

-Palmer!

APPLAUSE AND CHEERING

Lermontov!

Lermontov!

APPLAUSE

WHISTLING

Livy! Livy!

Come on, Livy!

We KNOW him.

-Remember my "Scythian Rhapsody"?

-Forget it.

That's the maestoso to your rhapsody!

-Did you show it to him?

-Yes.

-You don't think he lifted it?

-Course not.

She's a great patron of the arts.

Vicky...

Vicky!

Vicky!

Lermontov's coming.

-That's yours too, isn't it?

-Yes.

APPLAUSE

MUSIC BEGINS SLOWLY

Steady on, old boy.

What are you waiting for?

-ALL:

-Shh! Quiet!

Please, do you mind?

-ALL:

-Shh!

Oh, really!

CHATTERING

Ah! Dear Professor Palmer!

-We're all very proud of you.

-You're too kind.

-We meet the great man at last.

-Enchante.

I never imagined I'd get you here.

I must be clever.

If some fat harridan is going to sing, I'm leaving.

I can't bear amateurs.

-Neither can Lady Neston.

-What?

She has a niece who dances - professionally.

Hello, Professor.

Please don't get up, Mr Lermontov.

Are you prepared for a surprise?

A surprise or a shock?

Well, to take the plunge...

I've asked my niece to dance tonight.

-What would you call that?

-A shock.

Oh! You're certainly very candid.

I wouldn't dream of boring you with an amateur's performance.

My niece has danced leading roles for some time.

The critics admire her work.

How would you define ballet, Lady Neston?

One might call it the poetry of motion, perhaps, or...

One might. But for me it is much more.

For me it is a religion.

One doesn't care to see one's religion

practised in an atmosphere such as this.

I hope you understand.

Attractive brute!

-I'll have a champagne cocktail.

-Yes, sir.

-Champagne cocktail, please.

-Yes, madam.

At parties, everybody's supposed to be happy.

But perhaps you dislike them, as I do.

-Still, it might have been worse.

-Might it?

-Very nearly WAS much worse.

-Oh?

We were to be treated to a little dancing exhibition.

But now we'll be spared that horror.

Mr Lermontov, I am that "horror".

Mmm.

It's a bit late for apologies, isn't it?

Yes. A little late.

All the same, I'm sorry - terribly sorry.

But you're not sorry I didn't dance. Why?

-Because, my dear Miss...

-Victoria Page.

Miss Page, at a party, I don't expect an audition.

Yes. You're quite right.

Why do you want to dance?

Why do you want to live?

I don't know exactly why, but I must.

That's my answer too.

-Come with me.

-Where to?

-We'll have a talk.

-I don't think I want to.

Don't worry. I'll do the talking.

BUZZER

-Can I see Mr Lermontov?

-Go away!

-What is it, Dimitri?

-A young man called Craster.

I keep telling him you are asleep, but he won't believe me.

Then either you are a very bad liar

or Mr Craster is a young man of good sense.

Show him in and serve breakfast.

Mr Craster...

What can I do for you, Mr Craster?

I'm sorry to bother you, but this is important to me.

Yes?

Last night I wrote you a letter. It was a silly letter

and I'd like to have it back before you read it, please.

I see.

That's the one.

Unfortunately, Mr Craster, I have already read this letter.

Oh.

Mr Lermontov, please!

You're Professor Palmer's pupil,

and you've written a string quartet and a piano concerto.

-Yes.

-Very interesting.

Would you care to play me something?

Something of your own, I mean.

Of course, if you wish it.

This is a study I wrote for the piano.

But I'm thinking of orchestrating it, and putting it in an opera.

Are you finished already?

It was very interesting.

Hope I haven't ruined your breakfast.

By the way, I need a new coach for the orchestra.

-Would that interest you?

-Would it...interest...

I can't pay much at first - £8 a week and expenses.

It'd be absolutely marvellous!

Then have breakfast and come to Covent Garden.

Thank you.

And your letter, Mr Craster.

If you take my advice,

you'll destroy it immediately and forget all about it.

"Heart of Fire" IS your work, isn't it?

These things mostly happen unintentionally.

I know. That's why...

That's why it's worth remembering that it's much more disheartening

to have to steal, than to be stolen from.

Good morning.

FAINT SINGING

# ..As I walked along on a stormy night

# Never mind the abuse, You have the excuse

# He went to Covent Garden in the morning. #

What a corker!

I tried to get her twice. Ta-ta.

Here you are.

-Oi! Pardon me!

-Isn't this the way to the stage?

-Name?

-Julian Craster.

-What name?

-Julian Craster.

Not on the list.

-Lunch, Irina?

-Yes.

-I have an appointment.

-I'm sorry.

He invited me here.

-Good morning, George!

-Bonjour, madame.

-How is Madame George?

-She's la tres jalouse.

Very jalouse.

It's that photograph we had taken. Compris?

Here. They've been looking all over for you this morning.

-Oh, flute!

-Exactly.

-How much longer?

-I'll get the S.M.

What's your name?

Julian Craster.

I've an appointment with Mr Lermontov.

-Julian Quast.. Cras...

-Craster.

Craster. George, if this man is invited, you can pass him, yes?

Ca va by me, madame. Ca va by me.

Follow me, young man.

-Er, est-ce que vous...?

-Comment?

-Are you a dancer?

-At night. Not in the morning.

I don't really know ballet.

-You are artist?

-Yes. A composer.

Ah! And you wish to see...who?

I'm not quite sure.

They're all there. Make your choice.

-Can you tell me who's in charge?

-No idea, mate. There's about five or six of them that thinks they are.

Excuse me, can you...?

I'm just somebody's mother,

and that doesn't mean much around here, I can tell you.

Can you tell me who's in charge here?

In charge of what?

-Mr Lermontov invited me here.

-Why?

-He's engaged me.

-Not as a dancer, I hope.

-No.

-Alors, mes enfants. A boulot!

And...

Mr Ljubov wants it moved.

-No, it stays there!

-Well, if you say so.

-Merci.

-Morning, madame.

Ah, here comes the great Boronskaja...at last.

Today she's only 43 minutes late(!)

Am I supposed to congratulate myself on that?!

My patience is at an end.

This time I shall go to Lermontov and I shall explain to him

how no theatre is big enough to hold both you and me!

I might as well start packing.

No hurry - he might dispense with MY services.

He's quite crazy enough.

If we go, we go together, darling.

-Promise?

-Of course.

-Who are you?

-Victoria Page.

I expect Mr Lermontov has mentioned me.

-He's invited me...

-It's too much!

HE invites them, I teach them.

I get rid of them, he forgets them!

Now, unhappy girl, please go to the far corner,

where you'll meet five other young ladies

to whom Mr Lermontov has also extended his...hospitality.

Jackie. Jackie!

Quiet, please!

We'll rehearse Act One of "Heart of Fire".

Everybody not concerned, leave the stage, please.

Righto, boys. Set Act One. Hurry!

Is that so? Well, I agree.

HE TAPS CANE

-Where are you going?

-To talk to Mr Lermontov.

Wouldn't it be better to wait until afterwards?

That's all right. I know him personally.

Oh, that makes ALL the difference.

-Ratov?

-Yes, Boris?

Stay there. I'll come up.

ORCHESTRA TUNES UP

Good morning, Mr Lermontov.

Good morning, Ratov. We must do something about this.

The girls have no room to move. Ljubov was right.

-Aha! Ljubov!

-Ljubov's always right.

-You really think so?

-Yes.

Well, well, well. Take it away.

You see, Mr Lermontov is a very busy man.

Why don't you go and wait with the others?

-Ready, Ivan?

-Yes.

Yes, I will.

-Sergei Sergeiovich.

-Yes?

Are you acquainted with the works or person of Julian Craster?

-No.

-Nor I.

Which proves how sadly we lag behind the times,

for here he is.

Lermontov engaged him.

RHYTHMIC PIANO MUSIC

MUSIC STOPS

Rondes de jambe.

FAST PIANO MUSIC

Class dismissed.

FLUTE AND BASSOON PLAY

HE SINGS: Da-da-diddy...

HE SINGS MELODY AND ORCHESTRA PLAYS

No, figure 29. Sing!

That will do.

Thank you, gentlemen.

The brass could do with your attention, Craster.

Tomorrow.

ORCHESTRA TUNES UP

Gentlemen, I'm sorry to bring you here so early.

I've seen this particular ballet several times,

and I really must...

There are one or two things I really must put right.

"Heart of Fire" overture, please.

From the beginning.

By the way, trumpets. Two bars before figure 2...

Have you got an E natural?

No, I've got E flat.

Makes all the difference. Should be E natural.

From the beginning.

ORCHESTRA BEGINS PLAYING

ORCHESTRA STOPS

Please try to come in together.

Even more pianissimo. Less strings.

A, oboe. OBOE PLAYS "A"

ORCHESTRA TUNES UP

From the beginning.

ORCHESTRA BEGINS

That's nice!

Mr Craster!

Precisely what is going on?

I can only suppose you've taken leave of your senses.

Do you realise that by calling the orchestra one hour early

we'll have to pay them?

ORCHESTRA SNIGGER

Did I ask you to rehearse "Heart of Fire"?

-Tell me!

-Well...

I'm sure Mr Lermontov is interested too.

-Well?

-I like it.

You like it?

No doubt you also like the National Anthem and the Marseillaise

I hope you're not thinking of summoning the full orchestra at dawn

to practise those noble melodies.

ORCHESTRA LAUGHS

I'll leave him to you, Lermontov. He's your discovery, not mine.

Mr Craster, please exercise in future

a little more control over your natural ambitions.

Why you should have chosen "Heart of Fire"

for this early morning escapade...

-Good morning, gentlemen.

-ALL:

-Good morning.

..is a mystery I shall never hope to solve.

May I see that wrong note, please?

Hmm. However, there are passages in "Heart of Fire"

which no-one need be ashamed of.

Thank you, Mr Lermontov.

CHATTERING

-Good morning, Miss Page.

-Good morning!

-Is Lord Oldham with you?

-Yes.

Be careful, miss.

-Good morning, Peter.

-Hello, Vicky.

What are you doing here?

I'm lunching with Lermontov - the ballet fellow.

-Oh... Business or pleasure?

-Bit of both.

What about you - shopping?

Don't worry, Grischa, I'll bring her back at 3.00pm.

-How are you?

-How are you?

-I hope we're not late.

-No.

-Boris, meet my friend Vicky Page.

-Hello.

-Can we give you a lift?

-No, thanks.

Excuse me.

LERMONTOV: Who? Victoria Page?

Um... Yes, she may dance.

"SWAN LAKE" MUSIC PLAYS

APPLAUSE

"SWAN LAKE" MUSIC

RECORD JUMPS

Good morning, my dears.

I hope I find you well.

I have a few things to say.

The ballet is leaving for Paris.

It would be enchanting to be able to invite you all there,

but this pleasure must be denied me.

To those whom we must leave behind,

I'd like to say, don't be discouraged.

It doesn't mean you're bad dancers.

It just means that we haven't got room.

Please step out, Miss Faith, Miss Baines,

Miss Hardiman, Miss Love.

Yes!

Thank you for your hard work this year.

-Mr Ljubov is equally grateful.

-Hmm...

Maybe next year we'll meet again.

Good morning.

Vicky, he means US!

TRAIN WHISTLES

Un ange! Les entrechats... comme ca!

-Oh!

-Elle touchait pas la terre!

-Sans blague?!

-Oui!

PIANO PLAYS

PIANO STOPS

Listen!

Mes amis...

I am... I get married!

ALL GASP

My dear child, all my love and best wishes for your happiness.

Irina, I wish you the greatest happiness with your new partner.

-Merci. Where is Grischa?

-I'm here!

-Do you hate me?

-I could never hate you.

-But how can I ever forgive you?!

-You will!

Don't quarrel with your husband

as much you quarrelled with your conductor!

Boris Lermontov, you have nothing to say?

Boris!

He has...no heart, that man.

KNOCK AT DOOR

Entrez!

-Mr Craster, I have a job for you.

-Good!

Have you not been altogether happy with us so far?

-Well, I...

-Well, what?

Coaching an orchestra's not exactly a composer's dream, is it?

This job may not be a composer's dream either.

But I hope you don't consider it entirely unworthy of your talent.

The ballet of "The Red Shoes" is from a fairytale...

MUSIC PLAYS

MUSIC STOPS

..pair of red shoes.

I beg your pardon?

The ballet of "The Red Shoes" is from a fairy tale by Hans Andersen.

It's about a girl whose ambition is to dance in a pair of red shoes.

She gets the shoes, goes to the dance and is happy.

At the end of the evening, she's tired and wants to go home.

But, the red shoes are not tired.

In fact, the red shoes are never tired.

They dance her into the streets, over the mountains and valleys,

through fields and forests, through night and day.

Time rushes by. Love rushes by.

Life rushes by.

But the red shoes dance on.

What happens in the end?

-She dies.

-Yes, I remember.

Beltran wrote the music last year, during our South American tour.

The passages marked with the blue pencil are dead.

Let's see what you can do in the way of rewriting.

-Oh.

-Take your time.

-No hurry.

-Thank you.

-KNOCK AT DOOR

-On vous attend, monsieur!

->

Oui, je viens. Thank you.

Look at our Baronskaja!

She's in wonderful form tonight!

I'm not interested in Baronskaja's form any more.

Nor any prima ballerina imbecile enough to marry!

-Come now, Boris!

-She's out.

< Pitched.

You cannot have it both ways.

The dancer relying upon the doubtful comforts of human love

will never be a great dancer.

Never!

That is all very fine, but you can't alter human nature.

No? You can do even better.

You can ignore it!

BOARDING ANNOUNCEMENT IN FRENCH

..Avec les compliments de Monsieur Ljubov.

Moi, je suis Ljubov.

TANNOY: Train numero 280 a Monte Carlo - voie numero 12.

Boris!

Adieu.

Well, Irina.

Now you can sleep long, and eat sweets all day, and go to parties!

And now you will be calm. Class will start on time.

No more shouting, no more hysteria backstage, no more...

No more...Irina.

SHE SOBS

Monsieur Lermontov! Quel plaisir de vous revoir!

Je m'excuse que je suis tout deshabille,

mais j'etais en train de regler les lumieres.

Oh, cette histoire de Boronskaja...

Miss Page.

Are you very tired?

Yes, thank you.

I mean, no.

Monsieur, je vous presente Miss Victoria Page.

Monsieur Boudin, le Directeur General de l'Opera.

Mes hommages, mademoiselle.

-Monsieur Rideaut, le regisseur.

-Enchante, mademoiselle.

You have already visited Monte Carlo, mademoiselle?

Yes, last season.

-Then you know the Hotel de Paris?

-Yes, but I'm staying...

Hotel de Paris. You'll be comfortable there.

La voiture de Monsieur Lermontov vous attend, Miss Page.

Bonsoir, mademoiselle.

Montez, mademoiselle.

MAN SINGS OPERA

You're dressed up for a conference!

Hello. Is there a conference on?

Yes, they're all arguing in there.

There you are, Miss Page.

Will you come in, please?

I was just going out when I got your message.

Miss Page, I've asked you to come here tonight

because we're preparing a new ballet.

I've decided to let you dance the principal part.

But there's one thing I must tell you.

My belief in your possibilities is not shared by my colleagues.

However, whatever their personal belief may be,

they will all give you of their best.

The rest is up to you.

Well, Miss Page, that's all.

We shall start work early tomorrow.

I suggest you forget your party and go to bed.

Yes, I will.

And, Miss Page...

Good luck.

Thank you.

-PIANO PLAYS

-Well, what happened?

I'm in a new ballet!

-What ballet?!

-PIANO PLAYS TUNE

"The Red Shoes"!

This is impossible, Mr Craster!

-I couldn't rewrite that, could I?

-Why not?

You didn't blue-pencil it.

Horrors like that speak for themselves!

I did have some ideas...

Where are they? We need a score!

If you'll allow me.

It's the church scene.

Get rid of this sentimental hymn tune,

and take a four-square chorale.

Something like this.

Then have a church bell coming in.

PLAYS TUNE LIKE BELL TOLLING

Suddenly the strings...

# Da de da de da-dum! #

As the priest appears, it's brass.

# Pum, pum, pum-pum pum pum! #

Shall I play "The Dance Of The Red Shoes"?

Thank you, Mr Craster, thank you!

This time change everything. I want a new score.

There you are, Mr Lermontov.

Where's the orchestration?

-When do you want it?

-Yesterday.

I don't want to see your face, until you've finished it.

You won't!

SLOW DANCE MUSIC

Why aren't you in bed?!

You gave me a fright.

I meant to.

Why aren't you in bed?

I was ordered to, but I'm too excited, so here I am.

-I haven't seen you.

-Thank you.

You haven't seen me, either.

He sent you to bed, too?

No. I'm working on the score of my new ballet, "The Red Shoes".

-Is that MY ballet, too?

-I suppose it is.

TRAIN WHISTLE BLOWS

TRAIN ROARS

I wonder what it feels like to wake up famous.

You won't know if you stay here talking.

So...good luck.

Good luck.

HE WHISTLES

PIANO PLAYS

She's putting too much into it! Tell her, Grischa!

Mind your own business!

She's dancing with me.

And the big stuff's still to come.

She must know she can't dance everything full out.

How can she know, if YOU never dance full out before opening night?

Here are the designs for the costumes, Boris.

One moment. Sit down, please.

Sorry, Mr Ljubov. Something must be done about the music.

-CRASTER:

-She pirouettes too early.

The tempo's too fast.

-It's the right tempo.

-Of course.

Once more!

She'll be all right.

I hope so.

Still unconverted, Sergei?

Well, of course she's a charming girl, but...

I know nothing about her charms and I care less.

But I tell you, they won't wait till the end -

they'll applaud in the middle!

-HE LAUGHS:

-Come now, Boris!

I take a bet.

Enough! Enough!

Miss Page, we are trying to create something of BEAUTY.

While you wave your arms like a scarecrow,

and bend your knees like a carthorse,

we are unlikely to succeed!

Well, well, it's a bet.

Let me see your sketches.

The girl.

Dejeuner! Rendez-vous a deux heures!

Ne faites pas attention, ma petite.

Ce Ljubov est un animal!

-Un verre d'eau, s'il vous plait.

-Bien.

PIANO PLAYS

Do you still think I can do it?

You seem to find it a little difficult.

In two weeks, I hope you'll appear to be finding it supremely simple.

The great impression of simplicity

can only be achieved by great agony of body and spirit.

-Voila!

-Uh-uh.

You don't want to ruin your breathing.

From today, you shall lunch in my office.

Craster!

Sit there, please.

Mr Craster at the piano.

Do you usually have a musical accompaniment to meals?

No, Miss Page.

This will be your fate for two weeks.

Mr Craster will play "The Red Shoes" music

at lunch, tea, dinner, until we open.

I see.

Yes. This way you should become quite familiar with the music.

I think I shall.

The music is all that matters, eh, Mr Craster?

-Certainly.

-Bon appetit!

-A votre service, mademoiselle.

-Merci.

Some composers specialise in lunchtime music, don't they?

Some.

You?

In my time.

Do you mind not playing that?

It's the right tempo.

Let's take the ballroom scene.

That's the most digestible part of the score.

The ballroom's been cut.

Cut as a scene, but it's still in my score.

I wrote this dance for a ballroom.

Anyone who understands anything about music will SEE a ballroom!

Even Lermontov will see a ballroom.

Even you.

When your partner lifts you into the air,

my music will transform you.

Into what?

A flower, swaying in the wind.

A cloud, drifting in the sky.

A white bird, flying!

Tell that to Ratov!

He would love your birds and flowers.

You don't?

-To a dancer, nothing matters...

-Just a minute.

# Nothing matters but the music! #

It's hard enough getting off the ground, without being a bird.

Won't you imagine ANYTHING on the first night?

Yes - war between me and the audience.

HE PLAYS FORCEFULLY

My music will pull you through it!

TRANQUIL MUSIC

DRAMATIC MUSIC

TRANQUIL MUSIC

DRAMATIC MUSIC

I'm not a circus conductor, and you're not a horse!

-It's too fast!

-HE YELLS:

-Get on with the rehearsal!

Allow the slow passage to end, before starting your pirouette!

My downbeat marks a pause.

We understand it, don't we, gentlemen?

-Come in on the second beat.

-Impossible!

One, two - tia, tia!

It's quite simple.

See this baton?

-Yes.

-Well, follow it!

OOH!

ORCHESTRA TUNES UP

AUDIENCE CHATTERS

WOMEN ARGUING IN FRENCH

Oh, laissez-moi tranquille!

KNOCK AT DOOR

-Good luck.

-Good luck.

Vicky.

-WOMEN CHATTER

-Vicky!

Dance any tempo - I'll follow you.

-All right, Ivan?

-Oh!

Time to go down, Craster.

-Good luck.

-Thank you.

-Nervous?

-No.

Come on.

ORCHESTRA TUNING UP

-Do I...?

-What the devil have you got to worry about?

-It's a fine score.

-Is it?

A magnificent score! I only wish I...

Go on!

AUDIENCE APPLAUDS

APPLAUSE DIES DOWN

Va chercher Monsieur Ljubov.

Oui, ma fille.

Tu fermes les lumieres, quand je baisse la main droite.

-Mischa?

-There's chaos, chaos, chaos!

-Mischa!

-Ah, Boris.

Mon Dieu!

-The red shoes!

-What?

The red shoes aren't there!

-Rideaut.

-Where are the red shoes?

-Mais, Monsieur...

-Don't waste time!

Where are they?!

-YOU haven't hidden them?

-No...

Yes! Fool! Fool!

Miss Page est dans un etat. Elle est si nerveuse.

Oh, ca alors!

Boris. Look here.

Elephants! Clumsy elephants, they've ruined my decor!

Calm yourself, Sergei.

But the door won't shut!

Somebody must hold it.

-But who?

-The callboy.

He'll have nothing to do.

Hold the door!

Best of luck, Miss Page.

I've forgotten my first entrance.

You THINK you've forgotten.

What about this? HE HUMS TUNE

Yes! It's all right when I hear the music.

Since undoubtedly you'll hear the music,

undoubtedly you'll be all right.

The music is all that matters. Nothing but the music.

If I doubted you, I'd be nervous.

-Am I nervous?

-No.

You're not dancing for an audience,

but for Ljubov, Ratov and myself, for whom you've danced many times.

I believed in you from the beginning.

Now, everybody does!

Dance tonight with the same ecstasy I've seen in you only once before.

At the Mercury Theatre?

At the Mercury Theatre in London, on a wet Saturday afternoon.

-LIVY:

-40 seconds.

-Coming.

Good luck, my dear.

You're a magician - producing this in three weeks, from nothing!

A magician can't produce a rabbit from a hat,

unless a rabbit's already there.

OVERTURE CONTINUES

A pity the theatre only holds 300.

We could've filled the Albert Hall tonight!

What we're creating, the whole world will discuss tomorrow.

Good boy.

Rideaut!

MUSIC STARTS

MUSIC WINDS DOWN

MUSIC CRASHES IN

MUSIC BUILDS

MUSIC SWELLS

AUDIENCE BEGINS APPLAUDING

APPLAUSE AND CHEERING

WHISTLING

HE STOPS WHISTLING

WHISTLING RE-STARTS

HE WHISTLES ONE LONG NOTE

Ca va? Any swelling? I mean the head.

All that clapping, bravos, roses - all that's nothing.

But when I, who've seen Pavlova, Karsavina dance,

tell you that last night you were not bad -

not good, but not bad - that's something!

Now, I tell you truth.

It was...good.

-Thank you, Mr Ljubov.

-My name is Grischa.

-Mine is Vicky.

-How do you do?

Arm straighter.

So, Boris Lermontov wants to see you.

Why in class time? Why?!

WOMEN CHATTERING

Silence!

-'E'.

-PIANO EXERCISE BEGINS

Grace...

-More cables, Boris Lermontov.

-Hello? Who's this?

-It's you!

-Monsieur...

Une seconde, je vous en prie.

Thank you for ringing.

You're not disturbing me.

I always have time for congratulations.

Monsieur Lermontov, est-ce que...?

Laissez-moi parler, je vous en prie!

Yes, I agree.

Music! A most distinguished score.

-Qui est le compositeur?

-Mais, le voila.

Monsieur Craster, tout le monde.

-Monsieur Craster?

-Oui.

He's contracted to me.

He's starting a new ballet, full of gaiety and charm.

"La Belle Meuniere", by Marcel Lucien.

Yes.

Yes, it's a wonderful offer.

-Au revoir, Lermontov.

-Au revoir.

No - next season.

-Cher maitre, je voudrais...

-Au revoir.

Merci beaucoup. Merci beaucoup.

It's kind of you to ring.

No more calls. Not even congratulations.

Mon cher ami, je vous en remercie.

-Where is the papers?

-Here.

Thank you very much.

Fiche-moi le camp! Excusez-moi.

Well, Mr Craster, that's all.

I'm proud of you.

-Mr Lermontov, I'd like...

-Some other time.

-Ah. Do you read French?

-Yes.

Read it. We'll talk another time.

-WOMAN:

-Mademoiselle Page.

Come in, Miss Page.

Sit down.

I want to discuss your future.

When we first met, you asked me a question.

You asked me whether I wanted to live.

I said yes.

Actually, I want more.

I want to create - make something big out of something little.

To make a great dancer out of you.

But first I must question you.

What do you want from life?

-To live?

-To dance.

There's two months left of the Monte Carlo season.

It's enough time.

Then we go touring - Rome, Vienna, Copenhagen, Stockholm.

Then America. Then next year, London again.

All the big parts for you -

"Coppelia", "Giselle", "Sleeping Princess",

"Les Sylphides", "La Boutique".

You shall dance. The world shall follow.

You shall... Shhhh!

Not a word.

I will do the talking.

YOU...

will do the dancing.

Quel saison! Et, toujours Victoria Page!

Ah, Victoria Page!

Vous avez la, une vedette de premier ordre!

-Goodnight, Boris.

-Goodnight, Grischa.

-She was not bad.

-She'll be all right.

"All right"?! "Not bad"?!

But she's aflame!

Un esprit de Coryphee!

Still not enough, Grischa?!

-Goodnight, Boris.

-Goodnight, Sergei.

Vicky was wonderful in "Boutique".

Just a little Dresden shepherdess.

We should reconstruct the theatre.

-Why?

-It's too small!

-Goodnight, Lermontov.

-Goodnight, Livy.

Her timing's a miracle!

Keep up to it!

-Goodnight, Boris.

-Goodnight, Grischa.

-Goodnight, Boris.

-Goodnight, Sergei.

-Goodnight, Mr Lermontov.

-Goodnight, Vicky.

MUSIC CONTINUES

-Goodnight, Boris.

->

Goodnight, Sergei.

Thank you. That's all.

-Goodnight, Boris.

-Goodnight, Grischa.

-Boudin.

-Oui?

Which is esteemed to be the very best restaurant on the coast?

-La Reserve.

-Oui, oui, La Reserve.

-Goodnight, Lermontov.

-Goodnight, Livy.

Book me a table.

For two?

Yes.

Non, il n'est parti qu'il y a cinq minutes. Au revoir!

-Julian!

-Yes?

I never said goodnight to Lermontov.

Monsieur Dimitri? No, Miss Page hasn't come in.

Monsieur Ratov?

Er, not here either.

Monsieur Ljubov? 317...

-No.

-Ils sont tous a La Ville Franche.

Monsieur Dimitri, I've just heard.

They're having supper at La Ville Franche with Monsieur Ljubov.

It's his birthday!

FOLK MUSIC

CHATTERING

Le voila!

ALL CHEER

Voila! Voila, son gateau! Voila!

ALL CHEER

Avec les compliments du Casino de Monte Carlo.

Ah, merci!

Regardez. Quel merveilleux cake!

-CAR ENGINE

-Tiens!

Tiens! Boris Lermontov!

ALL SHOUT

Good evening, Grischa.

May I join your party?

What a pleasure, Boris!

A chair for Boris Lermontov!

TWO chairs for Boris Lermontov!

Make way there!

A throne for Boris!

-Take mine, Lermontov.

-Take mine!

You sit down. It's your birthday.

Seems a long time since I had supper with my entire family.

Thank you.

But it appears that the great Miss Page isn't with us tonight.

Don't you miss another member of our happy little family?

No, I can't say I do.

You're a busy man.

Have a drink, Lermontov.

ALL CHEER

Grischa.

-A ta sante.

-Merci.

We all know you're a busy man, but have you noticed nothing?!

Don't exaggerate.

Boris, we have a little romance in our midst.

A GREAT romance!

Romeo Craster.

And Juliet...Page.

And when did this great romance begin?

With "The Red Shoes".

Charming!

And where have they taken themselves tonight?

What does it matter where they have gone?

They are young, they are together, and they are in love!

-Darling.

-Mm-hm?

I've decided I do believe in destiny after all.

Do you, my darling?

I'm very glad.

Cocher.

Cocher!

You'll wake him.

But I want to know where we are.

Cocher! Co...

One day when I'm old,

I want some lovely young girl to say to me,

"Tell me, where in your long life, Mr Craster, were you most happy?"

And I shall say, "Well, my dear, I never knew the exact place.

"But it was somewhere on the Mediterranean.

"I was with Victoria Page."

"What?" she will say.

"Do you mean the famous dancer?"

And I will nod, "Yes, my dear, I do.

"But then she was quite young.

"Comparatively unspoilt.

"We were, I remember, very much in love."

MUSIC FROM "SWAN LAKE" PLAYS

Did you see that?

-She smiled at Craster.

-I don't think so.

You'll send me to an oculist next!

HE SNARLS: Watch her dancing.

With pleasure.

Debutants!

At a charity matinee!

LERMONTOV: Yes.

Yes!

Yes, all right - Thursday.

Good evening, Mr Lermontov.

I'm afraid the score's rough, but I see you've read it.

Yes, Mr Craster.

I have looked at it.

However, I don't wish to discuss your music now.

To come to the point, what's all this about you and Miss Page?

Oh, I see.

-Could Dimitri...?

-Get out.

Well, Mr Craster?

Yes, we're in love.

I see.

Did you see Miss Page's performance in "Lac des Cygnes"?

I was conducting.

Did you enjoy it?

I think it was the loveliest thing I've ever seen in my life.

It was impossible!

Do you know why it was impossible?

Because neither her mind nor her heart were in her work.

She was dreaming.

Dreaming is a luxury I've never permitted.

Miss Page wants to be a great dancer.

-She's told you her ambitions?

-Oh, yes.

She's not, however, a great dancer yet.

And she won't become one,

if she gets sidetracked by idiotic flirtations.

Mr Lermontov, you don't understand.

We really are in love.

And, Mr Craster, I HAVE had time to look at your latest effort.

-Yes.

-And find it equally impossible.

That's not true.

It's good.

Childish,

vulgar,

and completely insignificant.

Then I'll relieve you of it.

There are of course many first-class ballet companies

to which you may take it with advantage.

It's not my greatest ambition to work for the ballet.

Some of us think it's rather a second-rate means of expression.

WOMAN: 'Oui, Monsieur Lermontov?'

Mr Craster's leaving the company.

Pay him two weeks' salary. He gets a receipt.

NO MUSIC

Sur moi!

Toujours, sur moi!

Oh, hello. I was just coming to say goodnight.

-Goodnight.

-Is anything wrong?

No. But before I forget it -

don't do any more work on the new ballet. I've decided to scrap it.

Scrap it? What do you mean?

I've done half the choreography!

That boy Julian is really gifted.

It's one of the finest scores we ever had.

Julian's leaving the company.

-I won't discuss it any further.

-Really?!

Well, I will!

I know a brilliant score when I hear one!

I've not been working for weeks

for the pleasure of being told I'm wasting my time!

I tell you, Boris -

I've had enough of this fantastic lunatic asylum!

I am THROUGH with it!

I resign!

I think you've made a very important decision.

Hello, you two.

Isn't love wonderful?!

-SERGEI:

-Bonsoir, Julian.

Hello.

What did he say?

Of course, he doesn't really want you to go, Grischa.

He's very sorry.

Then, I will think about it!

What about Julian?

-HE SIGHS:

-I have never seen him quite as bad as this.

He talked a great deal about ingratitude and...

disloyalty.

He said when personal relations started to interfere....

Yes, I know that bit.

My dear children, I'm very sorry.

Boris might feel different in the morning.

The morning?

He's leaving for Paris by the 8.15 train.

Has the famous Miss Page come to see me off?

I'd like to talk to you.

Why have you quarrelled with Julian?

There's only three minutes.

May I suggest, Miss Page, that such matters are hardly your business?

However, since you've gone to all this trouble...

Mr Craster has been unwise enough to interfere with certain plans of mine.

And that is something I do not permit.

I thought once that there would be no room in my life

for anything but dancing.

You'll think so again.

But if Julian goes, I shall go too.

-What do you intend to do?

-Dance somewhere else.

Oh, yes!

That won't be difficult with the name I've given you...

always provided I release you of your contract.

But even if I do, will it be quite the same?

I've never pretended it would.

I could make you one of the greatest dancers

the world has ever known.

Do you believe that?

Yes, I do.

And that means nothing to you?

-WHISTLE BLOWS

-You know what it means to me.

-CONDUCTOR:

-En voiture!

-KNOCK AT DOOR MAN:

-The train's leaving!

Goodbye, Mr Lermontov.

Miss Page is coming.

PIANO PLAYS

-VICTORIA:

-Julian!

Julian!

I'm coming with you!

HOORAY!!

NOISE OF TRAFFIC OUTSIDE

Fool.

Fool!

FOOL!

BUZZER

Come in.

You're late.

I hope you didn't work too hard.

All finished. I have the injunction with me.

Boris, don't tell me you've changed your mind again?

HE CHUCKLES

I...I don't want to stop her doing anything.

She can dance when and where she likes.

Except "The Red Shoes".

What about the boy?

That's different. Everything written while under contract to me, is mine.

"The Red Shoes" and his work on "La Belle Meuniere".

I'm not interested in anything else he may write.

But if you keep "Red Shoes" in the repertoire,

you'll have to pay him royalties.

"Red Shoes" is no longer in the repertoire!

Oh.

I understand Patrick Trevalier's in Paris.

Yes. I dined with them both last night.

Oh? Baronskaja's with him?

Yes.

Anything I can do?

How's their marriage? A success?

Patrick seems to think so.

Would you like me to arrange a meeting with Irina?

Not "arrange".

By chance.

DOG BARKS

Oh, Boris!

"SWAN LAKE" MUSIC PLAYS

-BORONSKAJA:

-Goodnight, Boris!

-Goodnight, Irina.

DOOR CLOSES

-Good season?

-With the Ballet Lermontov, always!

-DOOR OPENS SERGEI:

-Goodnight, Boris.

Goodnight, Sergei.

-Sergei!

-Yes?

-Would you come in, please?

-Of course, Boris.

-GRISCHA:

-Goodnight, Boris!

Grischa, please come in and wait.

Conference?

-Ah!

-Urgh!

Letters.

-Nobody writes to me.

-That's not true. Yours.

From Vicky.

From Vicky?! How is that girl?

Read it and you'll see.

This is from Julian.

It's all about his new opera.

He describes the whole structure.

Enormous talent, that boy!

He says...

..she's an inspiration.

A miracle.

-Thank you, Mr Boudin.

-Bonsoir.

Well, I see it's mail day.

From our two young rebels.

Deserters.

I hope they're happy.

-Read, Boris.

-Read this too.

It might make you sorry to have lost him.

I doubt it.

That reminds me. Jacques sent the new score of "La Belle Meuniere".

I like it. I'd like you to hear it.

-We might open with it in London.

-With Irina?

We can discuss that.

First night - all gaiety, fire!

Would you glance through it? No prejudice, please.

I hope you remember that yourself sometimes.

-Every day. Goodnight, gentlemen.

-Goodnight.

On second thoughts, I'd like to read those letters.

My letter was only meant to be read by me.

-See you later, Boris.

-Goodnight, Sergei.

I could hardly let him read it.

She calls him a monster.

A gifted, cruel monster.

-HE LAUGHS:

-You should've told him.

WOMAN SINGING OPERA

WOMAN SINGING OPERA

SINGING STOPS

PIANO PLAYS

HE PLAYS PIANO

DOOR OPENS

I'm sorry to be late, Boris Lermontov.

Lady Neston was in front tonight.

She arrived this morning. She's staying several weeks.

And Miss Page is joining her next week for a short holiday.

KNOCK AT DOOR

We seem destined to meet at railway stations.

-What are you doing here?

-Waiting for you. Sit down.

But you know, my dear Vicky,

how I'm always looking for great dancers.

We all have missed you.

I was hoping that you would have started to miss us.

I have.

You only have to say the word.

How is everybody?

-Including me?

-Including you.

-Never better.

-How is Grischa?

-Always fighting with Boronskaja.

-And she?

-Always fighting with Grischa.

-Old Sergei?

-Getting younger.

-And you?

Getting older.

And you? You are happy?

Yes, very happy.

As a dancer, I mean.

I haven't danced much.

I know every time you have danced.

-But you never stopped working.

-No.

-Never stopped going to class.

-Never.

Why isn't HE with you?

His opera's been accepted at Covent Garden.

It's in rehearsal now.

-Would he give it up if you asked?

-I don't know.

-You do.

-I WOULDN'T ask.

Why is he asking you? Does he know what he's asking?

We are preparing a new ballet.

We've been working at it for weeks.

The costumes and decor are Ratov's most beautiful.

Grischa's full of enthusiasm.

You know what that means.

Nobody else has ever danced "The Red Shoes" since you left.

Nobody else ever shall.

Put on the red shoes, Vicky, and dance for us again.

RADIO: 'This is the BBC Third programme,

'from the Royal Opera House, Covent Garden, London.

'Tonight's the first night of "Cupid and Psyche",

'a new opera by young British composer Julian Craster,

'whose only well-known work is the score for "The Red Shoes".

'"The Red Shoes" was a great success,

'produced at Monte Carlo with the Ballet Lermontov,

'but has not yet been seen in this country.

'Something must have gone wrong.

'Somebody's making an announcement.'

'Ladies and gentlemen, I regret to announce that Julian Craster,

'who was to conduct his own opera, has been taken ill.

'Sir Hartley Menzies will conduct in his place.'

'Here comes Sir Hartley Menzies now.

'I'll announce the cast during the interval.'

DOOR OPENS

Il est moins le quart, monsieur.

All the way down from London, I wondered if I'd find you here.

And here you are.

-You left your first night?

-Yes.

Oh, Julian!

Why didn't you?

At last, Vicky.

All right now, my sweetheart.

There's a train to Paris at 8.00. We'll be on it together.

Hurry and get changed.

-I'm dancing tonight.

-Walk out.

Good evening, Mr Craster.

Won't they miss you at Covent Garden?

-Il est moins dix.

-Je sais!

Leave me alone, both of you!

Please, wait until after the performance.

It'll be too late.

You're already too late, Mr Craster.

-Tell him why you've left him.

-I haven't!

You have! Your life is dancing.

You can dance anywhere else in the world!

Would you be satisfied with less than the best?! If you would,

you would never be a great artist. Perhaps you never will.

Would you make her a great dancer?! Never!

I've waited since you snatched her, to win her back!

-You're jealous of her!

-Yes, I am!

But in a way that you'll never understand!

-Moins cinq!

-Faut-il tenir le rideau?

Wait!

Well, Vicky?

I love YOU, Julian! Nobody but you!

SHE CRIES

You love that more.

I don't know! I don't know!

If you go, I'll never take you back! Never!

Vicky, do you want to destroy our love?!

Adolescent nonsense!

All right, go then! Go with him!

Be a faithful HOUSEWIFE, with a crowd of screaming children!

And finish with dancing FOR EVER!

Vicky, look at me.

WOMAN ON RADIO SINGS OPERA

Goodbye, then, my darling.

Julian!

DOOR CLOSES

Monsieur Lermontov! Peut-on commencer l'ouverture?

-Oui, commencez!

-Bon.

Alors, commencez tout de suite!

Vicky.

Vicky.

Little Vicky.

There it is, all waiting for you.

Sorrow will pass, believe me.

Life is so unimportant.

And from now on, you will DANCE like nobody ever before!

WOMAN SINGS LOUDLY

Qu'est-ce que tu as?!

Ma petite...

Ma petite.

Ma petite!

Monsieur Lermontov!

Mademoiselle Page! Ou allez-vous?!

TRAIN WHISTLE BLOWS

RATTLE OF TRAIN

NO!